Padmavat
Author : Purushottam Agrawal
Publisher : Rupa, Rs 295
The book indicates how Jayasi made prominent the legend of Padmini. He turned it into subjective truth, particularly for the Rajputs, and even inspired different versions of it, writes RONICA WAHI
Wrapped in this interestingly designed book, Purushottam Agrawal’s commentary on Padmavat does justice to Malik Muhammad Jayasi’s remarkable epic. A scholar and former teacher of the epic at the prestigious Jawaharlal Nehru University, he brings his wide-ranging knowledge and long experience of engaging with the text into this book and sheds light on its various facets.
This book starts with an insightful introduction by Devdutt Pattanaik, who inspired Agrawal to produce it. Here, Pattanaik contextualises the issues that Sanjay Leela Bhansali’s recent film adaptation of this epic brought up, elucidates myth as subjective truth, points out political agendas that play with the issue of identity, and shows rigid binaries to be the result of minds unwilling to consider varied perspectives. Pattanaik and later, Agrawal discuss the ‘modern’ elements in Jayasi’s society, placing the text in its social context and steering the reader towards a more nuanced understanding. Pattanaik’s contribution does not stop at providing the impetus and writing an apt introduction; he enlivens the book with interesting illustrations — some are even amusing, such as the one wherein Nagmati, Ratansen’s first wife, and Padmavati pull each other’s hair. (p. 130)
The Author’s Note informs of what the epic has wrongly been projected as and touches upon what it contains, preparing the reader for the discussion to follow. Agrawal relates interesting aspects of India’s history of five centuries ago and places the epic in its social and literary context while stressing its specific accomplishments. He also shares anecdotes from and about Jayasi’s life. He charts Jayasi’s personal story — including his consciousness of both his ugliness and his enchanting poetic persona, and his inspirations, and details how these make their way into Padmavat. He elaborates on the various literary traditions and conventions that Jayasi employs and makes his own. He ends up discussing many histories alongside — such as of the term bhakti’s evolution.
Comparing Padmavat with other works employing similar strands or notions, and the rest of Jayasi’s output, Agrawal underscores the text’s worth, including in terms of the range of traditions, stories, elements of cultural memory, and ideas weaved in. Agrawal explains how the historical is used, without the epic becoming a mere historical account, and how folklore, mythology, Hindu and Islamic symbolism, fantasy, and Utopic vision are included. He writes, “Despite using esoteric terminology and metaphors liberally, Padmavat maintains emphasis on human love and its evocative power.” (p. 26) The epic, as Agrawal takes pains to show, is an ode to love, and stresses on love’s ability to transform humans into divine beings. For Jayasi, a warrior’s valour was not of supreme significance — a lover’s valour was greater.
That Jayasi understood emotions is reflected in how he portrays a “bride’s paradoxical emotions”, kama, and the suffering of Nagmati as a victim of patriarchy. This emphasis on emotions is absent in its later adaptations. Also, not all literary critics have appreciated the ‘package’ that the epic is — but a conscious reader must remember that “...use should not be confused with poetic intent.” (p. 46)
Importantly, this book stresses that Alauddin Khalji was not monstrous — he did not, unlike Ratansen, value Padmavati’s willingness but did possess redeeming attributes. Like the historical Khalji, Jayasi’s Khalji was a competent ruler and was concerned about his subjects’ welfare. Post-victory, he repents. Later adaptations, sadly, create a monster of Khalji. Some toy with the story with no positive effect and rather omit crucial elements.
The epic makes women important — in love and in making Padmavati uplift Ratansen’s status. Sati as an expression of devotion is not women’s fate alone, and jauhar is merely a historical fact; jauhar is not glorified. Jayasi valorises friendship in the association of Padmavati and her parrot Hiraman — here, Jayasi both uses and challenges traditional views, for the parrot is wise as per convention and grateful as against convention. Agrawal reveals Jayasi’s understanding — or as he says, research perhaps — of food culture, geography, flora and fauna, sculptures, omens, warfare, and “dresses and gaits” of women of different castes. Jayasi also discusses values that must anchor life. Agrawal indicates his own wide understanding that enables an appreciation of the kind he displays. However, often, he revisits ideas; this is useful in certain contexts, merely repetitive in others. As Agrawal discusses the story’s progress, he explains symbols, mythological and literary allusions, and contextual meanings of terms.
He often quotes from the original Awadhi, inspiring a look into the same. He points to Jayasi’s clever word-play too. For instance: Word-play on deep, which means “lamp” and is a colloquial pronunciation of dweep meaning “island”. The translation runs: “The island of Simhal came to light precisely because the lamp known as Padmavati illuminated it.” (p. 67)
Significantly, though Agrawal clearly values the epic, he is unbiased in his assessment and mentions where he finds lacks — he points to how Jayasi seems to be in a hurry to wind up his tale after Ratansen and Padmavati return to Chittor as a couple, fails to explain certain parts sufficiently and even lets inconsistencies seep in, and focuses on the erotic to the extent of, at times, compromising on other valuable aspects.
The commentator asserts that the historical is for rendering the text more relatable, but reading only the historical into it would take away much. As Jayasi hoped, he leaves a mark through this epic.
The book says, “Generally, popular memory turns historical events into legends; Jayasi’s genius has turned the legend of Padmini into ‘real history’...His creative genius created not only a poetic work of historical importance, but history itself.” (p. 53) Agrawal’s work has asserted the worth of Jayasi’s creation, becoming a valuable text in itself for understanding a shining literary jewel. It concludes powerfully, inviting some much-needed introspection from the reader.